The work has been installed at a number of places
throughout the world such as the Venice Biennale
and the Laforet Museum in Tokyo.
What were the main considerations behind the
Sydney Opera House installation compared to the other sites?
Because the piece is made onsite by the venue
it tends to be done in a different way by every
technical team that puts it together.
The way it was produced here was absolutely unique.
I've never seen it before, and it was a really clever way
of doing it, in that the wall was built on the ground
and then hoisted into place.
The wall has got a metal framework behind it
and flats on it and the monitors are secured
to the metal framework.
We've had all sorts of ways of doing it.
We've had huge wooden structures built to hang it on.
And it really comes down to the technical ideas
of the people at the venue.
The particular considerations for this venue were
obviously the shape of the room.
It's a completely square room in plan, so we had to
think about how the rest of the space is used.
The Venice Biennale was an odd one because it was
in a space that was as unlike a gallery as it's possible to be.
It was in an old oil drum warehouse at the Arsenale in Venice.
But that gave it a really odd feel, something that's
very different from a space like this,
which is also unlike any other space.
This feels theatrical to me and we had to play
to that sense of theatricality.
With the Venice [exhibition], it almost ended up
looking like a church.
It was as if this thing had landed from outer space
and it did have a more church-like feel.
We did one in Naples for instance that was at
the end of a nine hundred metre Roman corridor
and so you'd walk down this corridor and you'd see
a little speck of light in the distance and as you got closer
you'd see it was a configuration of monitors
and that was a very different experience from walking
straight into a room and seeing it there.
So, we design each exhibition to suit
the surrounding it's going to sit in.
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